Veer Movie Reviews

Now no one's doubting the fact that Salman Khan's a thoroughbred veer. For, it does take a whole lot of bravado to pick up a blast from the buried past and present it an age when everyone is determined to tell a brand new story in Bollywood. Of course, films like Lagaan and Jodhaa Akbar did manage to strike a chord with the newbie viewers too, but they were more like exceptions to the rule. By and large, the scheming Brits and their grab-India story

Put together the patriotic spirit of Manoj Kumar's Kranti and the total masala factor of Manmohan Desai's Mard. Add to it the commercial formula of Anil Sharma and the stupendous star power of Salman Khan. That's Veer for you. This time, Sharma borrows the plot from his last big hit, Gadar, and simply changes the setting - it's all about a boy and girl from warring sides falling in love. There is also the maar-dhaad, desh prem and the villainous father

In a scene from the film, Salman Khan fractures his leg and limps almost for one full reel. But in real life, it seems like Veer Salman ne apne hi paav par kulhadi maar lee (hit the axe on his own leg). The average story he pens doesn’t do justice to the immense intensity he adds to his performance. So Salman is marred and let down by his own self. Veer opens in 1862 though it comes close to the masala magnum opus flicks of the 80s.

When you walk into a costume drama written by Salman Khan and directed by Anil Sharma, historical accuracy, consistency and plausibility are not high on the priority list. After all, Sharma has directed films like Hukumat, Elan-e-Jung and most famously Gaddar: Ek Prem Katha, in which a lone Sunny Deol routed the Pakistani army with a handpump. What you’re looking for is an old-fashioned Hindi film brimming with tough men, beautiful women

Salman is the last Khan standing. It makes not a whit of difference to him and his directors that the space for retrofitted 70s packages has shrunk to nothing : Salman, In and As Veer, defiantly dances, romances, and bests his enemies in combat— hand-to-bare hand, and because `Veer’ is allegedly a period film, sword-to-clanging sword. It is the mid 19th century, and the Rajwadas are allowing the British to gobble land and money because of interpersonal strife

Little has been publicly spoken of their split, or their working relationship. Yet, between the two – Salim and Javed, creators of the ‘70s ‘Angry Young Man’, best-known screenwriters in Bollywood’s history – it is said, Salim Khan was a master scenarist. Javed, supposedly, wrote the wonderful lines. Salim dreamt up the massiveness of the movie. Javed took care of the intimacy of moments. Salman Khan is screenwriter Salim’s eldest son

VEER drives home a few hard facts...No amount of gloss can substitute for an engaging story. Not all directors are capable of pulling off a period film. No star - howsoever strong his rankings are - can infuse life in a comatose script. Everyone's awaiting VEER with bated breath. The film industry will get another breather if VEER goes the 3 IDIOTS way at the box-office. The junta will have one more fascinating genre to look forward to, if VEER appeals to them.

The son of a legendary hero grows up and attempts to follow in his father's footsteps, however bloodthirsty this road may be. It is standard Bollywood cliche, but Salim Khan, one of our most iconic screenwriters, deserves a better tribute than son Salman, credited for the film's story, churning out this unbelievably hackneyed period disaster. Director Anil Sharma has never been known for his subtlety, and here, sinking his teeth into the painfully melodramatic script

Veer is a very, very terrible film, which has lots of thudding hoofs, bloodstained swords, chopped-off heads plus brawny men hooting and fighting. What Veer doesn’t have is any kind of a script or a director, forget about any other related sense or sensibility. The film is a brutal assault on all your senses, with lousy direction constantly competing with mediocre acting struggling with a garbled period story, and one has to indeed be very ‘veer’ not to cry and run away in sheer fright.